This show originally broadcast on December 9 2017. EuroFolkRadio’s Andrew Carrington Hitchcock interviews Alfred Schaefer, for a show entitled:
“Defining Hate Speech”.

Topics of discussion

examples of hate speech; how the media promote race-mixing which is actually the genocide of individual races; how we are now witnessing the final chapter in the destruction of the White Race; Arthur Topham’s parody of Theodore Kaufman’s Germany Must Perish; is the ongoing genocide of the White Race revenge for White nations banishing the Jews from White nations over 100 times in the last thousand years; how the White Race are on their own and cannot rely on any help from other nations or indeed their own governments; Rabbi Mendy Cohen’s attack on, The Synagogue Of Satan – Updated, Expanded, & Uncensored, which was broadcast on CBS News; how we are on the verge of World War 3; and many other topics.

Bretzenheim November 25, 2017
Alfred Schaefer

The world-wide awakening, or „Zeitgeist“ is progressing at an explosive rate.
The police officers are here to protect us and guarantee our safety and not to prohibit us from speaking freely.
In the United States of America the most criminal elements are being exposed and their freedom of movement is being limited.
We need to understand and to use this new Zeitgeist.
Today, we are gathered here in remembrance of our ancestors, to honour them, and to mourn for them.
Nobody can stop us from doing this.

Only recently, about 3 years ago, did I first hear anything about these Rhine Meadow Death Camps.
It was Christopher Bollyn, an independent American Journalist, who gave me his copy of „Other Losses“ written by Canadian author James Bacque.
Christopher is the pioneering investigative journalist exposing what actually happened behind the scenes before, during, and after the event of September 11 2001.

In his book, James Bacque describes how AFTER open hostilities had officially ceased in 1945, German prisoners of war had been rounded up and held in huge open fields, fenced in, without any shelter to protect against rain and cold, herded together like cattle.

As planned, basic food and water was systematically withheld from these prisoners to deliberately let them die as cruelly as possible by starvation and exposure to the elements.
Reading this book triggered my own childhood memories of my Dad’s stories a long time ago. I was one of 5 children, in the 1960’s in Canada. My father had told us of his ordeal as a young medical student. He had been held in one of these camps. He told us about how he had tried to dig a hole in the ground, in the dirt, with a spoon, to find shelter from the elements, but there was no shelter to be found.
He told us about how young men, who had been quite healthy when they arrived, died within days, and how their bodies were taken day after day.
He told us how one of the guards had helped him to escape this camp.
This guard understood that my Dad’s language and medical skills may be more useful outside of this prison camp. This guard was a human being and had some empathy left inside of him. Unfortunately I can not remember any more details from what he was telling us.

For us children the world that our Dad was telling us about was as far away as a different universe.
These stories then disappeared down the memory-hole.

We were living in Canada, in a world of Peace, Prosperity, and Fun.

In hindsight I can vaguely remember the following:
When the book „Other Losses“, by James Bacque was discussed on Canadian radio after its publication in about 1990, my dad was furious that it took over 50 years to even talk about it.
And then it was never again mentioned in the media, and so it vanished from our memory.
Now, back again to the time when I was a little boy. That was a time when, if there happened to be a bully in the school yard who tried to tyrannise us with bad names we protected ourselves with a little song.
Every child in Canada knew this song. It went like this:

Sticks and stones may break my bones, but words will never hurt me.

That was a little children’s song and we were immune against verbal attacks.
And what do we see today?

We are being beaten to the ground, to our knees, with WORDS. We are crawling on the ground full of shame and self hatred.
The Germans and the entire world has been smothered with horrible atrocity propaganda for over one hundred years now.
This is done to destroy our roots, our own heritage. It is done to make it impossible to commemorate our ancestors with dignity, with honour, and with pride.
On a global scale, people are now beginning to understand that the genocide against the German people was nothing more than the first step in a most insidious plan to enslave all the European peoples.
The perpetrators of this plan had fomented and incited the European peoples to destroy their very own heart, namely the German peoples.
The fact that the genocide of the German peoples was the intention all along is proven by documented publications. Whether we look at the plans that the JEW Morgenthau had, or the JEW Theodor Kaufmann with his crude publication titled „Germany must Perish“.
These plans were openly discussed and favourably accepted by the so called victorious „Allies“.
And today this genocidal agenda has been expanded to include all of the European peoples, because it is these peoples who are standing in the way of this monster to rule the planet.
One glance in any of our European cities makes this abundantly clear.

And the point we find ourselves today, where this monster has taken this to, has triggered an awakening. This awakening is GLOBAL.
This biological attack on our white race is being recognized as such!
This recognition is triggering the biological response, which can be observed world wide.

We are supposed to think that we are tiny little and isolated helpless individuals, but that is not so. Everywhere, in all layers of society, in every town, in every street, the people are waking up!!!

As one can observe in Nature, a healing can only begin when the organism that is under attack, recognizes that it is in fact under attack. It is at this point now, that the European peoples find themselves.

It has been the deception that has made it impossible for us to understand and to recognize how all of this fits together and to understand where this is leading to.

The motto of the Israeli secret service is“By way of deception thou shalt do war”.

The book written by James Bacque about these Rhein Meadow death camps with the title „Other Losses“, describes precisely this aspect of this genocide. How is it possible to murder millions of Germans after open hostilities have officially ended, without anyone taking notice of it.

For us Europeans, it has always been that our greatest challenges have been mastered when we were under pressure.
And now we find ourselves under pressure.
We stand shoulder to shoulder with our backs against the wall.
In all the White countries on this planet.
This existential solidarity is only possible because we now understand the reality and the truth.

We were manipulated to massacre each other with blind hatred until we were drowning in our own blood.
This hatred was based on nothing but lies and incitement.

Unfortunately we can still hear individual voices that are asking for apologies from, for example the English or the Americans, for what happened in Dresden and other cities in Germany. This can not be. Regrets, yes, but no apologies.

Try to imagine the following scenario: I have been manipulated to take a knife and then I stab myself in my own heart. This stab wound is not fatal, as was intended, and I slowly recover from this bizarre attack. Is my hand now guilty? Or is it the monster that has manipulated me to do that?
See, how absurd that is? My hand and my heart are parts of the same body. That is why I say unequivocally, no European needs to apologise by any other European for things that we have done to each other in the past.
We need to UNDERSTAND what has been done to us, and that we need each other.

If we continue to allow ourselves to be manipulated and abused, then we will have to apologise to our own children.

Briefly now on Thinking and Doing.
How was it possible that we were not able to resist this horrible self-mutilation?
Because we were not able to see through it, and that way we allowed ourselves to be abused.

Marked Cards

We now have a situation that is comparable to the following scenario:
You are playing cards in a game that has been going on now for a long long time. The stakes in this game are very high. It is an all or nothing game.
Suddenly you notice that the cards that you are dealt, are marked.
What do you do? You can only lose if you continue this game with these marked cards. Your life depends on this game.
I don’t know what you would do, but I would immediately slap each and every marked card that I found on the table and fiercely demand an explanation.We have been forced to use words that have the same effect as marked cards.
These words are all those words that the enemy is using the most in the propaganda against us. For example: Hate speech, or Holocaust, or Holocaust denier, or Refugees instead of Invaders, or White supremacist, or anti-Semite. Because everyone now knows that the so called Holocaust is nothing but a insidious lie to extort vast sums of money from us all and to divert attention away from the genocide of the German people. The words are constantly being updated to fit the specific host people.

These words induce guilt complexes and endless justification rituals in the host population with which these are manipulated.
These words are to be treated the same as the marked cards in the game of all or nothing. The stakes are our very survival. Not one of these words can be permitted to go through.

To end this talk, I want to briefly help you to understand the emerging mood in the United States of America. Here is a meme that is making the rounds everywhere throughout the white population.

Do or DieIn the mind of every white American who voted for Donald Trump – whether conscious or unconscious – (and I would add, retrospectively we see Trump completely following the Jewish agenda, a great big disappointment to a great many people who voted for him- M.S.) “make America great again” meant “make America white again.”We are approaching the defining moment of American history.It is left to us – just us – to step up and claim rightful ownership of this nation, and to show the people the Jews who stole it from us.And I will tell you this: it can be done.Once we have the people behind us, the war is already over. At that point, we can directly – and maybe even peacefully – reclaim everything that was taken from us.It’s a big job. But it is what all of this has been leading up to.The final showdown.Us versus them.

The reason for my great Optimism is that we have now recognized the cause and reason and are able to deal with this, instead of continuing to suffer and doctoring around on the symptoms.

John Friend graciously invited me once again to join him in a discussion about the “New World Order” or more aptly named “Jew World Order”. Click on the above link to listen. Here is the show description, in part:

Monika was a guest on this podcast back in May, and today we pick up on many of the topics we discussed then. We begin by addressing the recent conviction of Ursula Haverbeck, the so-called “Nazi Grandma,” an 89-year-old German woman who just lost an appeal on charges related to “denying the Holocaust.” She is NOT in jail, and is appealing once again.

We move on to discuss how the fake “Holocaust” narrative is the primary weapon used to advance White genocide and the New World Order agenda across the world. We also address the promotion of degeneracy and cultural perversion by the Jewish mass media and “entertainment” establishment, Jewish globalism and the promotion of mass Third World immigration to formerly White countries, and related matters.

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The previous day, Kenn Gividen and Dr. Charles Lincoln invited my brother Alfred and myself back onto The Talk Show. We had been on in October.

In Part 1, Alfred reads his speech that he recently gave at Bretzenheim, near where the Rheinmeadow Death Camps were, and where our father was held prisoner.

In Part 2, we continued to discuss the aftermath of WW2, the millions of Germans who were murdered, the lies of the Jews, and how the Germans had been vilified since decades. We give an update about Ursula Haverbeck. We discuss the lies of the holohoax. The deliberate degradation of our culture is also part of the agenda. Lastly, we discussed what we need to do.

Spirited and positive discussion, this one lights a fire in our hearts and souls!

Topics of discussion

Alfred’s dialogue with Noam Chomsky;
Alfred’s videos;
the police raids on Alfred’s home;
the persecution of Ursula Haverbeck;
how the authorities in Germany fear taking people to trial;
how there is a media blackout on free speech trials, so the general public don’t realize their rights of free speech are being taken away;
how Germany has changed dramatically due to mass immigration from the third world;
how Ethnic-Europeans have excelled historically when we are under pressure;
how the fiat money system will soon collapse;
how Angela Merkel got back into power; and other topics.

Two stories follow, which tell the tale of the degradation of our culture. The first is a personal account about music. The second is a national story about art. Both have been the source of great puzzlement for me. None of it made any sense to me. Just like in the weird world of politics and global affairs, these culture stories were simply bizarre.

It made no sense to me, that is, until I became red-pilled. Then I began to understand what is really going on in the world. Now it makes total sense.

A Personal Story about Music

Growing up in Edmonton Alberta during the 60s and 70s, there was plenty of opportunity for exposure to symphonic music as well as rich and bountiful chamber music. I had the great fortune to have a mother who appreciated live classical music, and she brought us children to many concerts at a tender young age.

The Chamber Music series at Convocation Hall at the University of Alberta was especially wonderful. I have vivid memories of the many string quartet concerts in that beautiful old building. During the first half of the concerts, I would be fully alert and sat upright and attentive in my chair. Images of exploring old stairways and hallways at intermission are pressed into my mind. Second half, I often was afflicted with a period of restless leg syndrome. Anyone who has experienced this knows exactly what I am talking about. Suffice it to say that one has the insatiable urge to alternately tense and relax the muscles.

Fortunately the restless leg syndrome would not last too long, because I would drift off to sleep, with my head in my mother’s lap. I have the vague memory of that blissful feeling of floating in between wakefulness and dream sleep. I believe the strains of heavenly music went straight into my blood and soul while I was in that in-between zone of semi-consciousness. I am quite sure that is the reason for my enduring love of chamber music, especially string quartet music. Haydn, Mozart, Beethoven, Schubert, they all spoke directly to me.

I don’t remember when it happened, but there came a time when the obligatory modern composition was inserted into the program. There was that twentieth century contemporary piece which had to be endured. It was never very easy or pleasurable to listen to. Some people used polite descriptors such as “challenging”, or “provocative”, or “interesting”.

Was it just me who failed to appreciate those pieces? Surely others were enjoying them — why else would they be included in the program? I had a notion that we needed to give a chance to contemporary composers. But really, when there was so much great music already in existence, I did not like the fact that the beautiful music was being interrupted by something that consisted of bits of noise and dissonance strung together in haphazard fashion.It was jarring. Why could the modern composers not produce music which included something melodic? Maybe the beautiful melodies and sounds were all used up, I told myself. Perhaps this was all that was left. I was young.

It was as though we needed to be disciplined into liking something that really was not that likeable. I became accustomed to the reality that in order to get the good stuff — the pieces of immense joy and beauty which touched our emotions — we had to tolerate the modern stuff. We convinced ourselves that it was only a matter of exposure which would lead to an appreciation of this new music.

Sometimes it was indeed entertaining, interesting and surprising, but never anything I would want to take home with me.

Fast forward to 2016, when I witnessed something which was the epitome of ugliness and utter degradation, and should shame anyone who tried to call it music.

It was at a week-long string quartet competition, during which the young ensembles were required to play a variety of pieces from different eras and from different composers.

One of the components of the competition was a newly commissioned piece by a Canadian composer which all ten competing quartets had to perform. During past competitions I had found it to be a surprisingly rewarding experience, to watch and listen to ten different ensembles with their different personalities interpret the exact same piece. This time around, it was different.

The composer was in attendance, and introduced the audience to her composition by way of a speech and a question & answer session. She was sweet, funny, kind, soft-spoken, humble, an all-around lovely person. She also had her family there — her handsome husband taking care of their infant baby while she was busy on stage. This was all so picture perfect.

Imagine my surprise then, the disconnect, the cognitive dissonance which occurred when the first quartet sat down to play, and for the next 9 minutes, pure ugliness erupted from the stage. The audience was then treated to similarly excruciating noises nine more times, as each ensemble painfully took to the stage.

There certainly were a lot of acrobatic arm movements up and down the fingerboards. It was no doubt difficult to pull this piece off, but I was left wondering what the purpose of it all was. I know I was not the only one who was perplexed, as I heard one gentleman remark afterwards that there should be a rule. The rule should state that they play a minimum of three melodic notes strung together at least once per minute!

It is not necessary to name the composer in question, because this is not a criticism of her personally. She is a product of the system. She reflected the predictable endpoint for the trend which I began witnessing as a child.

So why and how did this come to pass? Who promotes this? Who judges what is meaningful, challenging, deep, or whatever other platitudes the critics come up with? Who is steering this degradation? Who are the “thought-leaders” and who is giving these people ink to push their agendas of uglification?

Have we all convinced ourselves that we just aren’t sophisticated enough to understand or enjoy something? People will whisper to each other about what they just heard, but will the press or the music schools dare to say the Emperor has no clothes?

A Story about Modern Art

Voice of Fire

There was a great uproar in 1990 when the National Gallery of Canada purchased a piece called Voice of Fire by Jewish American Barnett Newman for $1.76 million (right-hand image above). It consisted of a huge canvas 18 feet tall and had a vertical red stripe in between two stripes of blue. That’s it. What kind of insanity was this, Canadians asked? Of course the “critics” made all their highfaluting statements about abstract expressionism, and if people didn’t like it well they just didn’t understand art.

So we are not allowed to trust our senses and our own ability to think. The pundits tell us this is “good” art, brilliant actually. But we are just too stupid to see it.

Barnett Newman was the son of Polish Jewish immigrants, and was born and raised in New York. He came late into painting, and had destroyed much of his early works because he deemed them unworthy. He became known for his signature style which the critics called “colour field painting”(1). The Voice of Fire piece was not atypical for Barnett. It makes one wonder what his early works looked like, if this colour field style was a progression from something unworthy.

The insanity continues. Peter Simpson wrote in the Ottawa Citizen on July 31, 2014:

Recently, a senior member of today’s National Gallery personnel mentioned to me, off the record, that Newman’s Voice of Fire “is worth well over $40 million today.”(2).

Who says? And who would pay that? Some public gallery, in other words the taxpayer! Guided by the thought-leaders! And who are those thought-leaders?

Communist Goals and Jewish Influence

One need only look at the Communist Goals which are in the American Congressional Record–Appendix, pp. A34-A35 January 10, 1963, to learn that the degradation and uglification of art has been a deliberate plan all along.

Number 23 states: Control art critics and directors of art museums. “Our plan is to promote ugliness, repulsive, meaningless art.”(3)

The promotion of ugliness applies to all the arts, whether visual or musical or theatrical.

Brenton Sanderson writes about the Jewish promotion of abstract expressionism in this 2011 article in the Occidental Observer. He concludes with this observation:

Israel Shamir aptly summarizes the process of degeneration that occurred when he notes that “in the beginning, these were works of some dubious value like the ‘abstract paintings’ of Jackson Pollock. Eventually we came to rotten swine, corrugated iron, and Armani suits. Art was destroyed.”[xxviii] The result of this degradation has been to erode European cultural confidence and make Western societies, in the eyes of their increasingly atomized White populations, essentially “unlovable” and not worth defending. The new “art” has worked effectively to impair the racial and cultural immune systems of Whites, and represents an important front in the general post-WWII drive to transform relatively homogeneous White nations into the type of multi-racial, multicultural (and therefore presumably Holocaust-proof) societies in which Jews can pursue their self-interest in relative safety — free from the threat of any hostile reaction from a large and cohesive bloc from among their White host population.(4)

In Conclusion

There has been a gradual but deliberate degradation of art and music and culture over the past century. Classical beauty has been pushed aside and has been replaced with the ugly, the profane, and the dumbed down.

Our natural sense for beauty has been actively suppressed and warped. We have been taught to distrust our own sensibilities. Our minds have been poisoned by the downward spiral and incessant drip-feed of degrading images, messages, sounds, and words.

It is time to listen to our gut feelings, our hearts and our minds, about our perceptions of beauty and ugliness. It is time to challenge the critics and the so-called experts. Let us not be dictated to by an alien elite. Let us call out the emperor with no clothes! The demoralization and degradation of our art and music is a Jewish agenda. It is time to take back our culture and revive our natural sense and spirit!

Two shows. In the first, we discuss how holocaust lies have shaped our world. In the second show 10 days later Alfred Schaefer joins us, and we discuss psychological warfare, the religion of “the holocaust”, and real history.

This interview happened a few months ago, and I thought I had posted it on my website, but had not. Here is the conversation that Alfred and I had with Brian Ruhe, right after the second police raid on my brother’s home.

Brian Ruhe is a tireless advocate for truth, and he has made countless videos with many many people. The Monika Schaefer playlist on his channel can be found here.

Resistance can be fun!

Busking denied? That did not stop the music!

Almost every single day during the summer of 2017 I walked out my front door with fiddle in hand and played my way through the streets of Jasper townsite with a big smile on my face. No busking. Just walking and playing tunes.

The tourists loved it! Some of them even thought that I was being paid by the town! To them it made perfect sense that this jewel of a town in the Canadian Rockies would invest in street musicians and other artisan entertainers. Such irony! The town was actually forbidding me to earn money with my instrument. You can read about it here, here, and here.

Most of the locals also responded with joy. I received enough smiles and nods and thumbs up to store up for a winter drought and then some. The few people who squirmed and scowled and jerked their heads away in disgust – well, they revealed themselves to me. They could not stand it that I was having so much fun, and moreover, that others were responding so joyfully to my minstrelling.

If anyone was worried that giving me a busking permit would give me some kind of platform for proselytizing the public about World War 2 history, their “punishment” backfired on them. Had I been allowed to busk, I would simply have played my violin with an open case in front of me, hoping that a few music appreciators would toss a coin or two my way. I would not have been simultaneously talking about the state of the world.

But since I was not busking, and some tourists asked me why not, I stopped to talk to them. I told them that the town was prohibiting me from busking because they do not like my thoughts. That always elicited a gasp of surprise. Naturally they wanted to know more, so I gave them more. I talked about the forbidden subjects, for example the false flag nature of 9/11 and so on. Sometimes we went all the way into WW2 history and the most forbidden subject of all…

Since some of the tourists thought I was actually being paid to play, well then perhaps I should present the town council with a mock bill for my efforts. About $3000 should be quite adequate. When the world has been turned upside-down, we can turn the assaults against truth-tellers upside-down too, and put it right again.

How is it that one after another Society which purports to be about culture or environment becomes subverted into becoming an agency of thought control? First the Alberta Society of Fiddlers, then the Jasper Environmental Association, and now it is the Yellowhead Regional Arts Festival (YRAF) Society board which finds this writer too hot to touch, too dangerous to be associated with, only because I have reached different conclusions about what happened during WWII.

If I was so mistaken, would anybody care? My thoughts on those topics would simply be ignored and life would go on as usual. But evidently there is something to be feared from a person who questions the prevailing narrative and reaches different conclusions. Dissent is not permitted.

Here is the second letter this month which I have written to the YRAF board in response to their action against me. Below this one is the first letter, for background.

September 19, 2017

Dear Board members of the Yellowhead Regional Arts Festival Society,

Your action of declaring me “not the correct fit” for your September 29th event goes much further than just a single one-time event. You have done something very consequential. You are affecting my livelihood and my reputation. You are signalling to the wider community that I am dangerous and untouchable, and you are signalling to current and potential students that Monika Schaefer should be avoided. You have also subverted your society’s role as a cultural organization to that of a thought-policing agency.

If you think you can do this from a position of anonymity and zero accountability, with all due respect, that is simply not the way it works. Hiding behind a cloak of anonymity while taking this serious action is completely unethical and arguably illegal. The board of a Society must, by definition, be open, transparent and accountable to the public. By your nameless signing-off as a generic board, you demonstrate a profound contempt for civil society. If board-member names are kept secret, then it is not unreasonable for the public to assume that decisions can be dictated by just one person, and in this case someone who has a vendetta against me because they don’t like my thoughts.

It is impossible to know if letters sent to your generic society email address are reaching all the board members. I have been on copy from many concerned people who have sent letters to you in which they genuinely support my right to free speech, and they profoundly disagree with your misguided actions. I wonder if those letters are being disseminated to all board members, or are they being seen by only one person, possibly the person(s) who has strong-armed the rest of the board into taking this drastic action against me.

It has also come to my attention, through the grapevine, that you have been receiving some threatening and vile letters from people who pose as my “supporters”. I have been told that this is now your reason for not disclosing the names of board members, allegedly because there is concern for their safety. It is certainly not the original reason for hiding your identities, because that would have meant you had the power to predict the future.

In my truth-seeking quest, I have learnt many things about the tactics used by those who endeavour to shut down open discussion, investigation and disclosure of any nonconformist information about what may or may not have happened during WW2. There are many methods being employed to destroy, defame, and shun those who try to point out the inconsistencies in the victors’ version of history.

If it is true that you have received threatening letters, then you need to know that those letters are unequivocally NOT coming from my “supporters”. That is a deliberate tactic, a psychological warfare tactic, to smear me by association. Those letters are coming from people who are actively engaged in “shooting the messenger” and thereby undermining and distracting away from the message. They are agents of deception. I have now seen this numerous times, whereby people exclaim to me “your supporters have threatened me!” or “your supporters have sent profanities!” or other similar statements. Who are those people sending vile messages, and why do they not also send those letters to me? They are definitively NOT supporters of me, my message, or of truth or decency.

By subverting the YRAF Society’s role as a cultural organization to that of a thought-policing agency, you are directly responsible for the messy situation you find yourselves in now. This is not of my making.

You have taken a drastic action against me without having the courtesy (or the courage?) to talk to me face to face. I am now calling for a fair and open hearing in front of your board. I am asking to attend your next board meeting (or please call a special meeting), so that we may have a frank discussion about these matters. I am eager and willing to answer any questions you have, and to address your concerns.

I await your early response,Monika Schaefer

I have not received an answer to either of my letters to the Yellowhead Regional Arts Festival (YRAF) Society. As their name implies, this cultural festival encompasses the wider geographical region, and is centred in Hinton, the next town over from Jasper where I live. I have long been involved in the musical scene in Hinton as well as in my home town, so this latest move is an extension of the process of ritual defamation, of which I have been the target in Jasper for over a year now.

A Hinton-based music ensemble that I am part of had been invited to participate in the fall fundraiser concert for YRAF. Much to my surprise came the following letter by email. First a dimished screenshot, then a more legible version of their original letter to me.

from: yrafsociety@gmail.com
September 5, 2017

Dear Monika,

The Yellowhead Regional Arts Festival Society is a non for profit organization that promotes a safe learning environment for members within the communities of the Yellowhead Region.

After careful consideration the board thinks that your presence at our event would not be the correct fit for our organization at this time. [highlight emphases mine]

We wish you all the best with your future musical endeavours.

Yours truly,

The Yellowhead Regional Arts Festival Society Board

My response on September 8, 2017:

Dear YRAF Society Board,

Please explain to me exactly how my presence would not be the correct fit for your organization. Are you implying that my presence with my violin on the stage in Hinton would somehow be dangerous to the audience members? Are you suggesting that I might lose control of my violin bow and poke someone in the eye?

I wonder if your fear stems from any of the numerous fundraisers in the past at which I have donated my time and music (and gas) for the benefit of the Yellowhead Rotary Arts Festival (as it used to be called). What safety concerns were there when so many of my violin students entered the festival in past years, thereby helping to make the festival viable?

Why are you hiding behind the anonymity of “YRAF Society Board”? Who is pressuring you to make such a decision? Who among your board is doing this? What are your names please? And did you tell my fellow musicians with whom I was to perform that they, by association, are also not the “correct fit”?

You have the audacity to then wish me all the best in my future musical endeavours, after seeking to destroy my current musical endeavours.

The people on my extensive bcc list will be very interested in your explanation of why I should not be allowed to volunteer my time and modest talent at your fundraiser show on September 29th, 2017, for which I was willing to spend my money to get there, all for your Society’s benefit.

I await your early response.

Monika SchaeferJasper, in the Yellowhead Region

So, there you have it, dear readers. It is a tyranny of thought control. Dissent is not allowed. Cultural or environmental organizations which have nothing to do with history or politics are being subverted and highjacked into becoming enforcers of “doublethink”. How do we know that 2 plus 2 equals 4? George Orwell was trying to give us a warning with his masterpiece 1984. Doing nothing is not an option. Resistance is obligatory.

Blogs I Follow

Author John Wear reveals evidence contradicting the narrative we have been taught about Germany, Japan & the Allies in World War II. WEARS WAR is the battle to bring FAKE HISTORY into accord with the facts.